We’re thrilled to announce that Sub Pop will release Love Letter For Fire, a collaborative effort from Sam Beam (of Iron and Wine) and Jesca Hoop, worldwide this coming April 15th. The thirteen-track album features the singles “Every Songbird Says” (listen now via YouTube or Soundcloud) and “Valley Clouds,” and was written throughout 2014. Love Letter for Fire features Beam and Hoop on vocals and guitar along with Robert Burger (keys), Eyvind Kang (violin, viola), Glenn Kotche (drums, percussion), Sebastian Steinberg (bass) and Edward Rankin-Parker (cello).
Love Letter For Fire was produced, recorded and mixed by Tucker Martine (Modest Mouse, Decemberists, Neko Case) at Flora Recording & Playback in Portland, and mastered by Richard Dodd in Nashville. The album also features a cover photo by Sam Beam.
Love Letter For Firewill be available on CD / LP / DL / CASS, and is available for preorder now. LP preorders through megamart.subpop.com will receive the limited Loser edition on Smoke-colored vinyl (while supplies last, so don’t sleep!).
More on Love Letter For Fire:
Love Letter for Fire is the name of the collaborative record from songwriters Sam Beam (Iron & Wine) and Jesca Hoop. A collection of songs steeped in the tradition of the male/female duet where love – in its many forms - takes center stage.
Contemplating a duets album for some time, Beam was never able to find the right voice - until Hoop’s music found its way to his stereo. Diving into her catalog on iTunes one afternoon, specifically the album Kismet, was the spark Sam needed to reach out to Jesca and propose the idea of writing together.
The timing could not have been better for Beam: “I was looking to work with another songwriter because I had never shared the songwriting responsibility with anyone. I really enjoyed her music and it’s different than mine which is what excited me about the project.”
Hoop at the time was finishing her fourth record and had never co-written either. However she notes, “I had the advantage of knowing Sam’s music because it had cleaned my house many times, so I was familiar with his sensibilities and knew the combination could work.” Her memory though of “Sam’s pitch” for making the record occurred once they connected in person and Beam “threw [the idea] under his breath, like ‘If we ever write songs together.’ I think he said ‘Let’s make an EP’ and I said ‘Let’s make an album.’”
The inspiration behind Love Letter For Fire was Sam’s love of classic duets, most of which are ones he grew up hearing on the radio. “Some of my favorite songs are duets, because the narrative is expanded. It’s not just a monologue. It’s a conversation, and so it gets complicated. I had melodies over the years that I’d been compiling that I thought, this sounds like a classic Kenny and Dolly, ‘Islands in the Stream’ kind of thing, or George and Tammy”. While the record itself is not Countrypolitan in nature, the two have carved out something that feels wholly original and should have no trouble appealing to fans of their previous work.
Over the course of thirteen songs Love Letter for Fire brims with a joyful energy, contrasting Beam and Hoop’s songwriting styles yet never feeling forced, nor pandering. Veering from disparate pop (“Every Songbird Says” / “Chalk It Up To Chi”) to introspective folk (“One Way to Pray” / “Soft Place to Land”) to a few things in between (“Welcome to Feeling” / “Midas Tongue”), the record never rests solely on just the two voices but rather showcases the new chapter of songwriting each found in the collaboration. Beam notes: “(Jesca) brought a lot of energy and a lot of heart in places where I would be cerebral, she would bring heart. In places where I would be steady, she would add an exclamation point.”
Recorded in Portland, Oregon with the steady hand of Tucker Martine, the album features a collection of handpicked musicians. The band includes Rob Burger, a frequent Iron & Wine contributor, Sebastian Steinberg (Soul Coughing, Fiona Apple), Teddy Rankin-Parker (Primus), Eyvind Kang (Decemberists/Tzadik and Ipecac labels) and Glenn Kotche (Wilco). This particular set of musicians had never worked together, but quickly found themselves on equal footing. For Beam it was a bit of a dream team: “It was a really funband, and a lot less guitar than I usually have on my [Iron & Wine] records. Tucker and the band were able to help bring out what’s inside of you that you might not know is there.”
The album’s title comes from the song, “We Two Are A Moon“ and the irony of the title and record of love songs by two folks not in love is not lost on its creators. The idea of love in song and life is a constant and universal denominator that everyone relates to. Hoop describes love and the songs succinctly: “Each song has its own heat, its own trajectory.” The album title represents a kind of “ephemeral love that passes through” and then it’s gone. Beam on the other hand insists the title plays on itself in that “is it a love letter for fire? Or is it a love letter ready to be wasted?” and leaves it up to the listener to come to their own conclusions (read more at Sub Pop).
Sam Beam and Jesca Hoop have scheduled a North American tour in support Love Letter For Fire, which begins Tuesday, May 17th in Ann Arbor, MI at The Ark and ends Saturday, June 11th in Chicago, IL at Thalia Hall. Tickets go on sale to the general public Friday, February 19th.
Tour Dates May 17 - Ann Arbor, MI - The Ark* May 18 - Toronto, ON - The Danforth Music Hall* May 20 - New York, NY - The Town Hall* May 21 - Washington, DC - The Lincoln Theatre* May 22 - Boston, MA - The Wilbur Theatre* May 24 - Philadelphia, PA - Union Transfer* May 26 - Atlanta, GA - The Buckhead Theatre* May 27 - New Orleans, LA - The Civic Theatre* May 28 - Dallas, TX - The Kessler Theater* May 30 - Tucson, AZ - The Rialto Theatre* May 31 - Los Angeles, CA - The Fonda Theatre* Jun. 02 - San Francisco, CA - Great American Music Hall* Jun. 03 - Portland, OR - Aladdin Theater* Jun. 04 - Seattle, WA - Neptune Theatre* Jun. 05 - Boise, ID - The Egyptian Theatre* Jun. 07 - Boulder, CO - Boulder Theater* Jun. 08 - Omaha, NE - Slowdown* Jun. 09 - Minneapolis, MN - Varsity Theater* Jun. 10 - Milwaukee, WI - Turner Hall Ballroom* Jun. 11 - Chicago, IL - Thalia Hall* * w/ Marlon Williams
Tickets are on sale today for his previously announced North American spring tour, beginning March 30th in Santa Ana, CA at the Observatory and ending April 30th in Orlando, FL at the Beacham. Support for these dates come from Tess & Dave. Additionally, dates for his previously announced European tour run May 11th - May 31st. (complete list below)
But wait, there’s more! (horns blow triumphantly!) Father John Misty has also earned a Brit Award nomination for “Best International Male Solo Artist” alongside Kendrick Lamar, Drake, and The Weeknd.
AND… he’s the cover star of Under The Radar’s “Best of 2015” issue alongside Ellie Roswell from Wolf Alice (view here).
Tour Dates Mar. 30 - Santa Ana, CA - The Observatory* [Sold Out] Mar. 31 - Santa Ana, CA - The Observatory* Apr. 01 - Oakland, CA - Fox Theatre* [Sold Out] Apr. 02 - Oakland, CA - Fox Theatre* Apr. 05 - Vancouver, BC - Orpheum Theatre* [Sold Out] Apr. 06 - Seattle, WA - The Paramount* Apr. 08 - Salt Lake City, UT - The Depot* Apr. 09 - Denver, CO - Ellie Caulkins Opera House* Apr. 12 - Kansas City, MO - Uptown Theatre* Apr. 14 - Chicago, IL - Riviera Theatre* [Sold Out] Apr. 15 - Chicago, IL - Riviera Theatre* Apr. 16 - Minneapolis, MN - Northrop Auditorium* [Sold Out] Apr. 17 - Urbana, IL - Foelinger Auditorium @ University of Illinois* Apr. 20 - Toronto, ON - Massey Hall* [Sold Out] Apr. 21 - Montreal, QC - Metropolis* Apr. 22 - Boston, MA - House of Blues* [Sold Out] Apr. 23 - Philadelphia, PA - The Fillmore* [Sold Out] Apr. 25 - Washington, DC - Lincoln Theatre* [Sold Out] Apr. 26 - Washington, DC - Lincoln Theatre* Apr. 27 - Charlotte, NC - The Fillmore* Apr. 29 - Atlanta, GA - The Tabernacle* Apr. 30 - Orlando, FL - The Beacham* May 11 - Leeds, UK - O2 Academy May 12 - Glasgow, UK O2 Academy May 13 - Manchester, UK - Albert Hall [Sold Out] May 14 - Gateshead, UK - The Stage Gateshead May 15 - Nottingham, UK - Rock City May 17 - Bristol, UK - Colston Hall May 18 - London, UK - The Roundhouse [Sold Out] May 19 - London, UK - The Roundhouse [Sold Out] May 20 - London, UK - The Roundhouse May 21 - Southampton, UK - O2 Guildhall May 23 - Paris, FR - Alhambra May 24 - Utrect, NL - Tivoli Vredenburg - Ronda May 25 - Berlin, DE - Postbanhof May 27 - Aarhus, DK - Train [Sold Out] May 28 - Copenhagen, DK - Falconer Theatre [Sold Out] May 29 - Copenhagen, DK - Falconer Theatre May 30 - Gothenburg, SE - Trädgårn [Moved From Pustervik] May 31 - Oslo, NO - Sentrum Scene * w / Tess & Dave
Stereogum had this to say about the video, “Channeling albums like David Bowie’s Scary Monsters (And Super Creeps) and the Talking Heads’ Remain In Light, the band’s lead singer and songwriter Jonathan Meiburg has used this new record to add some polished experimentation and drama to the band’s ever-evolving sound. Director Alex Rapine’s video matches that aesthetic shift with a sleek, dark color palette, flickering lights, and a besuited Meiburg showing off his best evil grin (see premiere January 21st).”
Shearwater’s Jet Plane and Oxbow is earning the group some of its best reviews to date, from outlets on both sides of the Atlantic. Highlights include:
NPR Music: “Fussed-over sounds abound — one track finds room for both synthesizer and dulcimer — which helps render Meiburg’s songs both unsettling and majestic. The terrific “Quiet Americans” checks many of the band’s boxes right away, as the synths peal through static, while Meiburg’s vocals bark, swoop, soar and swoon in tune with the moment. From there, the palette expands and contracts to include booming, stadium-sized urgency (“A Long Time Away”); a persistently rumbling, exploratory epic worthy of Wilco (“Filaments”); and a ballad that sneaks in some of Meiburg’s favorite themes (“Wildlife In America”). Of course, that big, elastic voice remains at the center of these songs, but so too does a mandate to fill the surrounding air with big, bold ideas.”
MOJO: “A defiant moody exploration of the magic and menace of technology.” [4/5]
Uncut: “Meiburg’s finest album to date.” [8/10]
Rolling Stone: “It’s refreshing to hear them switch things up on this, their seventh full-length release, by writing more immediate pop songs without sacrificing their rich, thoughtfully placed instrumentation.”
Consequence of Sound: “Jet Plane and Oxbow can’t be locked into a single place or time, instead patching together its own alternate past. They leave room for their glossy influences and the gritty present to communicate with each other, threading catchy hooks through more complex backgrounds. The prime example is “Quiet Americans”, a dark track that transforms relatively quickly into a comfortable earworm.”
EXCLAIM: “The sense of velocity and flight, paired with Meiburg’s dramatic vocals, delivered with Bowie-like flair here, making Jet Plane and Oxbow a natural progression for Shearwater, and a nice departure from their typical offerings.”
PopMatters: “Jet Plane and Oxbow is a remarkably polished, alluring, and dignified accomplishment.” [8/10]
The Skinny: “The band’s punchiest and most populist work to date.” [4/5]
Shearwater’s 2016 North American and European tour schedule in support of Jet Plane and Oxbow begins February 3rd in Austin, TX at North Door and currently ends March 26th in Portland, OR at Mississippi Studios. Main support will come from Barsuk recording artist Laura Gibson (March 16th - 19th). (see dates below)
More about Shearwater: This is definitely Shearwater’s biggest and loudest record—it’s easy to imagine these songs roaring from the stage—but it’s also their most detailed and intricate one. Front man Jonathan Meiburg and producer/engineer Reisch (who also recorded 2012’s Animal Joy and the off-the-cuff collaborations of 2014’s Fellow Travelers) spent two years crafting Jet Plane and Oxbow with help from drummer Cully Symington, longtime Shearwater associates Howard Draper and Lucas Oswald, and tourmates Jesca Hoop, Abram Shook, and Jenn Wasner.
But their secret weapon this time is film composer and percussionist Brian Reitzell, whose soundtracks include The Virgin Suicides, Lost in Translation, The Bling Ring, and 30 Days of Night. Reitzell’s arsenal of strange instruments emphasizes Jet Plane and Oxbow’s cinematic depth and scope, and reflects the band’s choice to anchor the record in the era when digital technology was just beginning to transform the world of recorded music. In Shearwater’s hands this doesn’t feel like nostalgia; the racing synths and hammered dulcimers of heart-pounding opener “Prime” or the addled motorik of “Radio Silence” sound more like a metaphor for our own bewildering moment (read more at Sub Pop).
Tour Dates Feb. 03 - Austin, TX - North Door (w/ Marmalakes) Feb. 04 - Dallas, TX - Club Dada (w/ Marmalakes) Feb. 06 - New York, NY - Mercury Lounge (w/ Jib Kidder) Feb. 10 - Berlin, DE - Frannz Club Feb. 11 - Copenhagen, DK - Loppen Feb. 12 - Hamburg, DE - Molotow Feb. 13 - Amsterdam, NL - Paradiso Noord Feb. 14 - Brussels. BE - Botanique Feb. 16 - Lille, FR - L’Aeronef Feb. 17 - London, UK - Islington Assembly Hall Feb. 18 - Bristol, UK - The Fleece Feb. 19 - Leeds, UK - The Brudenell Social Club Feb. 20 - Glasgow, UK - King Tuts Feb. 21 - Newcastle, UK - The Cluny Feb. 23 - Dublin, IE - Button Factory Feb. 24 - Manchester , UK - Night & Day Feb. 25 - Brighton, UK - The Haunt Feb. 26 - Paris, FR - Point Ephémère Feb. 27 - Zurich, CH - Bogen F Feb. 28 - Fribourg, CH - Nouveau Monde Mar. 04 - San Francisco, CA - The Independent Mar. 05 - Los Angeles, CA - Roxy Mar. 10 - Washington, DC - Rock and Roll Hotel Mar. 12 - Brooklyn, NY - Bell House Mar. 16 - Pittsburgh, PA - Club Cafe** Mar. 17 - Toronto, ON - Horseshoe Tavern** Mar. 18 - Ferndale, MI - The Loving Touch** Mar. 19 - Chicago, IL - Schubas** Mar. 22 - Minneapolis, MN - Turf Club Mar. 25 - Seattle, WA - The Crocodile Mar. 26 - Portland, OR - Mississippi Studios ** w/ Laura Gibson
Low has delivered a new video for “Into You,” a standout from Ones and Sixes, their acclaimed 2015 album. The visual was directed by Jim Burns and Beth Chalmers, and filmed while on location in Glasgow, Scotland.
The directors had this to say of the video: “Inspired by the hypnotic reflections of the River Clyde on the archways beneath Glasgow’s city bridges, this film draws parallels between the power of a single beam of sunlight and the deeply affecting personal experience one feels during Low’s live performance. Despite being part of a crowd, Low’s music invokes within you a profound and unique individual perspective.”
Low’s 2016 tour schedule in support of Ones and Sixes is underway with a show tonight, February 1st in Philadelphia, PA at Johnny Brenda’s and runs through June 11th in Kværndrup, DK at Heartland Festival. New tour highlights include a tour of Australia and New Zealand from April 1st-9th. (see dates below.)
Low’s Ones and Sixes is available for purchase from the Sub Pop Mega Mart, iTunes, Amazon, and Bandcamp. Now completely sold-out through megamart.subpop.com, the limited “Loser Edition” of the double-LP on yellow vinyl and packaged in a variant slipcase cover is available from select independent stores and from the band themselves at upcoming tour dates, while supplies last. There are also two new T-shirt designs available at megamart.subpop.com, both as individual items and as part of CD and LP bundles.
Ones and Sixes garnered year-end praise from the likes of NPR Music (50 Best Albums and “Readers Poll”), Music OMH (#10), MOJO (#13), Drowned in Sound (#16), Under The Radar (#24), The Skinny (#28), Uncut (#37), and Village Voice “Pazz & Jop” (#46). It also earned the group’s first-ever U.K. Top 40 album spot, coming in at #35 on the official albums chart, and entered at #68 here in the U.S. on SoundScan’s Top Current Albums charts. Ones and Sixes also peaked at #7 on the CMJ Top 200 chart.
[Photo Credit :: Zoran Orlic]
What ‘the people’ are saying about Low’s Ones and Sixes:
“It’s one thing for Low to have made a rewarding career of spare, dramatic, glacially paced music…It’s another to make those ingredients sound so incredibly dynamic; to spend 20-plus years making a dozen albums that each feel distinct, and that each introduce new ideas, twists and ways to wring drama out of the space between notes…Throughout Ones and Sixes, the Minnesota trio somehow gives weight to airiness as comfort and discord orbit each other like a binary star. But every time the portent threatens to become overbearing — just as the mix of prettiness and heaviness tips a little too far out of alignment — Low punctures it with a burst of cleansing aggression or some pristine, exquisite surprise. Anything to keep us off balance.” [“First Listen”] - NPR Music
“The band’s strengths are here in abundance, but they are reimagined, twisted into new shapes and given a visceral intensity that is utterly irresistible.” [9/10] - CLASH
“…Striking a balance between their majestic, slow-moving melancholy and harsher experimental noise.” [4/5] - The Guardian
“One of the most impressive albums of their career” [4/5] - MOJO
“‘What Part of Me,’ with its upbeat percussion, fuzzy guitar textures andsweet harmonized lyrics about relationship boundaries (‘What part of me don’t you own?’), feels like a sideways response to the post-1989 maximalism of today’s Top 40; “Into You” is a gospel-inflected, subtly sexy slow jam; and “The Innocents” sets accusatory vocals over a crunching electro-industrial beat, all to excellent effect. Elsewhere, on the gentle, pained duet “Lies,” Low remind us they’re still masters of doing a lot with a little.” - Rolling Stone
”Ones and Sixes is all at once beautiful, ugly, tense, warm, inviting and repellent. It’s an emotional and sonic juggling act where even the slightest bum-note would draw attention to itself. As always with Low, the beauty is all about the details” - Pitchfork
‘Ones and Sixes is an ear-pricking listen.’ [Album of the Week] - The Observer
“Ones and Sixes finds them producing some of their best work in years” - The Quietus
“It’sanothersubtly heart-rending effort from a band that remains one of the very finest in the world. If you needed a reminder of why Low are an institution then this is it.” [8/10] - Drowned in Sound
“Somehow, with each new release (and they come regularly, every two or three years), Low manage to find new ways of protracting their deceptively beautiful melodies.” [4.5/5] - Music OMH
“Ones and Sixes hinges on tension that courses throughout these 12 songs. The drums land with a thud, as if transferred from modern R&B and hip-hop. They anchor songs that crackle with bits of distortion and chiming guitars that somehow feel disembodied from everything surrounding them. Then, in keeping with a signature Low move, there is the spectral spark created by Parker and Sparhawk singing together; their alchemy is otherworldly and downright intoxicating.” - Boston Globe
“With Ones and Sixes they’ve pulled together many of their disparate sides in a masterful survey of what makes them one of the great rock bands of their era.” - Dusted
“Ones and Sixes sees Low churning out some of their most accessible work, with “What Part of Me” having the potential to be an unlikely hit. As ever, strong stuff in every way.” [4/5] - Record Collector
“Low’s always been good at making records where it sounds like every note and beat contains some degree of pain and hope you’ve felt.Sohopefully it’s compelling when this one stands out even more as one of their best.” [8.1 /10] - PASTE
“Low remain as vital as ever” - DIY
“After two decades, a band that could easily feel part of the wallpaper remain hungry to show that you never know what lies beneath” [8/10] - Uncut
“Comfortably ahead of the pop pack” - TheSunday Times
“Masters of transforming emptiness into swelling, sweeping orchestrations of musical and mental noise, Low are truly intense and joyful on their newest exhibition of off-kilter, subterranean pop.” [4/5] -NOW
Feb. 01 - Philadelphia, PA – Johnny Brenda’s Feb. 02 - Baltimore, MD - Creative Alliance (Seated) Feb. 03 - Carrboro, NC - Cat’s Cradle Feb. 04 - Atlanta, GA - The Earl Feb. 05 - Birmingham, AL - Saturn Feb. 06 - New Orleans, LA - One Eyed Jacks Feb. 08 - Houston, TX - Walter’s Downtown Feb. 09 - Austin, TX - The Parish Feb. 10 - Dallas, TX - The Kessler Theatre Feb. 11 - Hot Springs, AR - Low Key Arts Feb. 12 - Nashville, TN - City Winery Feb. 13 - St. Louis, MO - Off Broadway Mar. 12 - Mexico City, MX - Festival NRML Apr. 01 - Wellington, NZ - Bodega Apr. 02 - Auckland, NZ - King’s Arms Apr. 04 - Southbank, AU - Melbourne Recital Centre Apr. 05 - North Fremantle, AU - Mojos Fremantle Apr. 07 - Fortitude Valley, AU - Black Bear Lodge Apr. 08 - Sydney, AU - Oxford Art Factory Apr. 09 - Hobart, AU - Eros & Thanatos (at the Museum of Old and New Art) Jun. 11 - Kværndrup, DK - Heartland Festival * w/ Andy Shauf
We’re now hoping to add another thing for you to know about Sub Pop…
We’ve made (and plan to continue to make) a podcast! Finally, you can hear the stories from inside, outside, and adjacent to Sub Pop, straight from this particular horse’s mouth. We’ll be bringing you conversations with our artists, people who work at or with Sub Pop, and anyone else who will talk to us. And, we’ll be doing much of this same sort of thing with the artists and people related to our sibling label Hardly Art Records.
It’s important to note here that when we say that “we” have made a podcast, we actually mean people here at Sub Pop Records. Hosted by Alissa Atkins (actual, long-time Sub Pop employee!) and Arwen Nicks (actual, albeit part-time and only recently hired, Sub Pop employee!), the Sub Pop Podcast is entirely self-produced and not something pitched to us by shifty entrepreneurs, or created in response to any real, discernible demand or marketing analytics. We have approached this in much the same way we approached starting the label: we really had no idea what we were getting ourselves into, and we’re pretty pleased with ourselves by the results.
And somehow, unrelated to any current or past contractual obligations, we convinced an impressive array of folks to talk with us for this thing. Here we are referring to such revered figures from the wide world of entertainment as: King Tuff! Cat from THEESatisfaction! Jon Benjamin! Ben Bridwell from Band of Horses! Jonathan Meiburg from Shearwater! And eventually, we’re fairly certain, if we can pin him down, Mark Arm!
In the spirit of tell and show, you can listen to the trailer for the podcast at subpop.fm RIGHT NOW. If you like what you hear, you can subscribe (in iTunes or anything) right now, too. The first episode will be available Wednesday, February 3, and new episodes will be delivered weekly until April 2016 (at which point the first season will end).
SO! Visit subpop.fm to listen to the trailer, subscribe to the podcast, sign up for the podcast mailing list, or to get in touch with us.
The Sub Pop Podcast: Absolutely nothing sounds better.
Mass Gothic’s self-titled debut is out tomorrow! The group will kick-off their 2016 headlining tour in support of the album, with a show tonight, Thursday, February 4th in Philadelphia at Johnny Brenda’s. Tour ends on March 19th in Austin at SXSW. Support for the tour (February 4th -25th) will come from fellow NYC band Mazed (Autre Ne Veut affiliates, ex-Bear in Heaven, Zambri). Scroll down for all the dates.
The band recently shared an official video for “Every Night You’ve Got To Save Me”, the iridescent lead single. The exuberant visual, directed by Addison Post (Colleen Green, Solvey), follows group members Noel Heroux and Jessica Zambri on a night out in Manhattan (watch it here).
Mass Gothic and tourmates Mazed have also teamed up to release “March of the Cigs” / “Ronette,” a 7” split-single.
Mass Gothic’s “March of the Cigs” is featured on the A-side, and was produced by the band, mixed by Chris Coady, mastered by Greg Calbi. Meanwhile Mazed’s “Ronette” is on the B-side, and was produced by the group, with additional engineering by Rick Kwan, mixing by the group and Josh Ascalon, and mastered by Joe LaPorta.
You can listen to both songs now via Mass Gothic’s Bandcamp page (with Mazed’s “Ronette” also available for download). Listen here.
What people are saying about Mass Gothic:
“Don’t let the name Mass Gothic trick you into thinking the record is a spiral into sadsackism. Each song carries its own weight unreliant and wholly different from the track that came before it, creating a collection of different modes of music and feeling. Songs like “Nice Night” carry an unwavering heaviness and compliment the reflective nature of the lyrics, while the track “Territory” creates a variety of different electronic textures that all stay dancy and catchy. The record is a trip into a variety of different vibes and reasons to listen to music, forming into a wholly memorable and engaging listen. It warps what you think pop, rock, and punk can do when bleeding into each other, one song to the next.” - Noisey
“The four-minute clip follows Heroux as he wanders Chinatown, the East Village, and SoHo, karaoke mic in hand, lip-syncing to the track and going nowhere in particular. Along for the ride are his bandmate (and wife) Jessica Zambri, some random passerby, a few cab drivers, and Sub Pop co-founder Jonathan Poneman…The laid-back feel of the video matches the content (if not the upbeat sound) of the song, which covers Heroux’s feelings of alienation and depression when he was making music that didn’t resonate within. Mass Gothic is an honest record, and its lead single needed an honest video where Heroux could exhale and act naturally” [“Every Night You’ve…” video] - Village Voice
“Noel Heroux started off working alone on a four-track, and after nine years and mild success with his old band, dance-rockers Hooray for Earth, he’s gone back to the way he used to do things. This became a necessity, really — a way of dealing with his depression — but the results capture something quintessential about the emotional experience at hand: There are definite highs, and there are definite lows on his self-titled debut as Mass Gothic for Sub Pop. Sometimes Heroux, who’s accompanied at turns by his wife Jessica Zambri, sounds like he’s trying to kick down the doors of his own brain with the sheer force of distorted riffs and heavy echoes and sharp turns. Other times, he’s just trying to shake off the bad stuff with a dance party where the playlist’s almost exclusively synth-pop.” [ 20 Artists You need To Know in 2016] - Vulture
“Tracks such as the exhilarating “Nice Night” - layered stinging distortion - offer a cathartic energy that’s it’s hard not to be pulled in by. Other highlights include the crisp modern doo-wop of “Every Night You’ve Got To Save Me” and the pulsating digital clatter of “Want To Bad”. The sound of a man finding freedom, it’s an impressive reincarnation.” - Q Magazine
Tour Dates Feb. 04 - Philadelphia, PA - Johnny Brenda’s* Feb. 05 - Cleveland, OH - Grog Shop* Feb. 06 - Chicago, IL - Schuba’s Tavern* Feb. 08 - Minneapolis, MN - 7th Street Entry* Feb. 11 - Boise, ID – Neurolux* Feb. 12 - Seattle, WA - Columbia City Theatre* Feb. 13 - Portland, OR - Bunk Bar* Feb. 14- San Francisco, CA - Rickshaw Stop* Feb. 16 - Los Angeles, CA – Bootleg* Feb. 18 - Denver, CO - Lost Lake* Feb. 19 - Kansas City, MO - Riot Room* Feb. 21 - Louisville, KY – Zanzabar* Feb. 22 - Cincinnati, OH - MOTR Pub* Feb. 23 - Pittsburgh, PA - Club Café* Feb. 25 - Allston, MA - Great Scott* Feb. 26 - Providence, RI - Columbus Theatre* Feb. 27 - Brooklyn, NY – Palisades* Mar. 10 - Washington, DC - Black Cat Mar. 12 - Savannah, GA - Savannah Stopover Mar. 16 - Austin, TX - SXSW Mar. 17 - Austin, TX - SXSW Mar. 18 - Austin, TX - SXSW Mar. 19 - Austin, TX – SXSW *w/ Mazed